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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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."

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear 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 thought, if this ever ends, 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 figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

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

This venture itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."