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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – 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 hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "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 far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political force stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has included its share of hardship, including openly discussed periods of mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he states.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."