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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels 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 everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a different political force looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to promote the right artists because they did not have the expected background," he states.

This venture itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."