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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a different political personality stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing 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 Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious 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 ends, 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."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always promote the most relevant talents because they weren't of the expected background," he comments.

This project itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."