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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life 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 period will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed periods of depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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."

A Foray into Curation

This refusal to fit into a box has led him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the expected background," he observes.

This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."