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

A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return 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 Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

This project itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."