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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives 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."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

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

Beyond the Magazine World

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

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including well-documented periods of mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear 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 is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he observes.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

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

What would the Enninful of that era think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."