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

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. 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 landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared battles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity 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 beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."