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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including openly discussed struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."