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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including well-documented periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to promote the most relevant talents because they did not have the traditional credentials," he states.

This venture itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? 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 powerful creative power brokers. His story, he believes, is a testament to the power of following your instincts.

What would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."