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 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would define a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including publicly shared periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 determination to fit into a box has inspired him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."