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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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."

The Tate Britain Exhibition

This determination to be typecast has propelled him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of pursuing your passions.

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."