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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

This venture itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."