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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak 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 bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 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."

A Foray into Curation

This refusal to fit into a box has inspired him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Galleries often failed to celebrate the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."