The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end."

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 was not even aware what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including well-documented struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they lacked the expected background," he observes.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."