The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. 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 socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including openly discussed periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Institutions didn't always promote the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

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