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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should use it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Galleries didn't always promote the most relevant talents because they weren't of the expected background," he observes.

This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."