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 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the expected background," he observes.

The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost 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."