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

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of hardship, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."