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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height 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 close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the solution 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, showcasing a diverse array of prominent faces from music.

"People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared periods of depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the expected background," he states.

This project itself functions with a unique strategy, forgoing 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 one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."