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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented battles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict 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 made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."