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

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a different political force stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would forge a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has included its share of challenges, including well-documented battles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the right artists because they lacked the right pedigree," he states.

This project itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."