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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, currently a different political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from literature.

"People with a voice should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including openly discussed periods of depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him outside the realm that made his name. He is now organising a seminal 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 capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of defying expectations.

What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."