The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from politics.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared 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 be defined narrowly has led him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the expected background," he states.

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

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of following your instincts.

How would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like 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 doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."