The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from music.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in 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 subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions didn't always promote the right artists because they weren't of the right pedigree," he observes.

This venture itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."