The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met 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 bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from music.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and 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 was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always celebrate the right artists because they did not have the expected background," he states.

This project itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."