The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "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 shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has not been immune to adversity, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything 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 refusal to be typecast has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring 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 spotlight those who did not receive a spotlight at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

This venture itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."