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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the right artists because they lacked the right pedigree," he states.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."