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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives 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 worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has not been immune to adversity, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the expected background," he comments.

This project itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."