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

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political force stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to champion 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 broad spectrum of cultural icons from art.

"People with a voice should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."