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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. Recently, a longing look back 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 remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself uses a unique strategy, rejecting 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 larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."