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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should use 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 did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including publicly shared struggles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything 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 determination to be defined narrowly has inspired him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring 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 give platform to those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the right artists because they did not have the right pedigree," he comments.

This project itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."