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 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a testament to the power of defying expectations.

How would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."