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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he observes.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "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 nothing can stop me once I’ve made up my mind to do something."