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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political force appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, 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 seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

His formative years would forge a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. 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 popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including openly discussed struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

How would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

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