The fashion icon Edward Enninful discusses 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. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered 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 yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from music.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including publicly shared battles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him outside the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he observes.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."