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

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, terrified 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always celebrate the right artists because they weren't of the expected background," he observes.

This venture itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."