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 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

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

The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences 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 radiates serenity. His path has not been immune to hardship, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they did not have the expected background," he comments.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."