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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all 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 fit into a box has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."