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 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – 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 became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to promote 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 celebration of modern Britain, including a diverse array of influential figures from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they did not have the right pedigree," he states.

The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."