The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious 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 confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."