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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from music.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate 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, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including publicly shared battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential 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 lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."