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

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met 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 energy."

While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would shape a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"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 lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including well-documented battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid 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 led him away from the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

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

A Testament to Resilience

Today, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a testament to the power of following your instincts.

How would the younger Edward react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."