The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change 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, currently a different political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion 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 snapshot of modern Britain, including a wide range of prominent faces from art.

"People with a voice should employ it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, 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 … all that gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of defying expectations.

What would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."