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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"Individuals with a platform should employ it," he asserts, discussing 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 refuge and an education. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has involved adversity, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, 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 restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he states.

This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."