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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era 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 knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political force appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including publicly shared periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, 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 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."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the industry that established him. He is now organising a significant 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 did not receive due recognition at the time.

"Institutions didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.

How would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."