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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would forge a trailblazing career marked by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has not been immune to adversity, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful 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 fit into a box has propelled him outside the industry that established him. He is now curating a significant 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 interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the expected background," he observes.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a testament to the power of following your instincts.

How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."