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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the core philosophy 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.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this period will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. 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 stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including publicly shared battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he observes.

This project itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."