The fashion icon Edward Enninful reflects on 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 course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music.

"People with a voice should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the right artists because they weren't of the expected background," he observes.

The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."