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 course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the solution has long 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, showcasing a diverse array of influential figures from music.

"People with a voice should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him beyond the world 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 explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This project itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of following your instincts.

How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."