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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political force stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has long 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 portrait of modern Britain, including a diverse array of prominent faces from art.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career characterised by fearlessness 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 people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

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

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including openly discussed battles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the right pedigree," he observes.

The magazine 72 itself uses a novel approach, forgoing 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 broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."