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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented struggles with depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, 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 embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to promote the right artists because they lacked the expected background," he states.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."