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 course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political figure appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from art.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a trailblazing career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"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, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period 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 figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."