The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political figure looms as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a trailblazing career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has involved adversity, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This project itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."