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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, currently a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. 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 landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, 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."

The Tate Britain Exhibition

This refusal to fit into a box has led him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment often failed to promote the right artists because they did not have the traditional credentials," he observes.

This project itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

How would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, 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 nothing can stop me once I’ve set my intention to do something."