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 path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a different political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers 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 leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

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

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved challenges, including publicly shared struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? 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 path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."