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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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 rawness."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the previous decade, today a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, 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, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."