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

A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including openly discussed periods of mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, 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 restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."