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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political personality stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has involved challenges, including well-documented periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of following your instincts.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."