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 path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up 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 very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has included its share of adversity, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything 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 drive to be defined narrowly has led him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

This project itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."