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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has consistently 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 snapshot of modern Britain, including a wide range of cultural icons from music.

"People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast 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 influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments.

This project itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."