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 path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

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

The beginnings of his career would shape a pioneering career characterised by 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 time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established 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 "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has included its share of challenges, including well-documented battles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This venture itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

How would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."