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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should wield it," he says, explaining those editorial decisions. "Everyone talks 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 education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He draws solace in the next 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 groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"Ignoring vast segments 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 established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."