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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence 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 previous decade, now a more divisive political figure stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long been to celebrate 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 diverse array of cultural icons from literature.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "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 refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. 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 became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "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 I am unstoppable once I’ve decided to do something."