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

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they did not have the traditional credentials," he states.

This venture itself functions with a novel approach, forgoing 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 broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a testament to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He smiles. "He would be astonished, 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. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."