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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from politics.

"People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period 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 vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions often failed to promote the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."