The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political force looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

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

"People with a voice should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

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

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

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