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 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

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

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, 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 … this duality gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they did not have the right pedigree," he comments.

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."