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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art.

"Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has involved adversity, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."