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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police 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 measured in tone and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."