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

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from art.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including well-documented periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to promote the right artists because they did not have the traditional credentials," he comments.

This project itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of defying expectations.

What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. 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 no obstacle is too great once I’ve set my intention to do something."