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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.

"People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including well-documented periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the right artists because they weren't of the expected background," he states.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential cultural influencers. His path, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."