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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving 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 – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and diversity. 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 historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned 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 was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including openly discussed battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."