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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, today a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to champion 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 portrait of modern Britain, including a wide range of cultural icons from literature.

"People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified 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 do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."