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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent 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 Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including publicly shared struggles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

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

This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations.

How would the younger Edward think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."