The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – 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 great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political force appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion 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 portrait of modern Britain, showcasing a wide range of cultural icons from art.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including well-documented battles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him beyond the industry that built his career. He is now putting together a seminal 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 interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."