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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has involved adversity, including well-documented periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

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

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."