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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "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 opportunity. That’s the Britain I cherished. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his premier initiative 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 brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved adversity, including publicly shared battles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of following your instincts.

What would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."