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

A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including openly discussed periods of depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself functions with a novel approach, rejecting 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 a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."