The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political personality stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including well-documented periods of depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"The establishment often failed to celebrate the right artists because they lacked the expected background," he observes.

This project itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."