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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a different political personality appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music.

"People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

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

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him beyond the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the most relevant talents because they lacked the expected background," he observes.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing 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."