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 path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle 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 literature.

"People with a voice should wield it," he comments, referring to those editorial decisions. "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 hope this phase will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring 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.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."