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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate 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 portrait of modern Britain, including a wide range of influential figures from politics.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

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 was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"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 established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. 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."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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 fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."