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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political personality stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, 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 subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."