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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political figure looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including publicly shared periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries 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 similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he states.

This project itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."