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

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has involved hardship, including publicly shared battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself functions with a unique strategy, forgoing 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 greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."