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

An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented battles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This project itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."