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 course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But 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 remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political personality appears as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote 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 snapshot of modern Britain, including a broad spectrum of cultural icons from music.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing 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 doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

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

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. 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 entire life. But I am unstoppable once I’ve made up my mind to do something."