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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this period will fade."

A New Wave of Consciousness

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

His formative years would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

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

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period 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 vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has propelled him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he observes.

This project itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."