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

A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

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

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. 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 limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him beyond the industry that made his name. He is now curating a major 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 creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment didn't always promote the right artists because they weren't of the traditional credentials," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of defying expectations.

What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."