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 newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, today a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career built on boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he states.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, 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. "Nothing is assumed. We lost our home, we left our homeland. I almost lost 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."