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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the previous decade, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."