The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he states.

This project itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."