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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in 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 exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries often failed to celebrate the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He smiles. "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 within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."