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

An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. 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 mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political force appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also undergone serious 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 exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to celebrate the most relevant talents because they lacked the expected background," he observes.

This project itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."