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

A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era 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 knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has involved challenges, including well-documented periods of mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has led him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

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

This venture itself operates on a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of defying expectations.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."