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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to promote the right artists because they did not have the expected background," he comments.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."