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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. 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. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "In my view, 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 resurgence of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the response has consistently been to celebrate 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 portrait of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

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

This venture itself functions with a novel strategy, eschewing 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 broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."