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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. 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 influential figures from politics.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful 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 industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the expected background," he states.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era make of the man he has become? 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 a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."