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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height 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 knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, 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 worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He draws solace in the youth of today: "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 forge a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established 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".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment often failed to celebrate the right artists because they lacked the expected background," he states.

This project itself uses a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."