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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith 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 great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period 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 prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries didn't always promote the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I almost lost 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."