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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to challenges, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him away from the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he comments.

This project itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a testament to the power of defying expectations.

What would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."