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 course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from music.

"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity 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 away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential 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 adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the right pedigree," he states.

This venture itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he feels, is a proof to the power of defying expectations.

What would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."