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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing 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 felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – 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 premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including openly discussed battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to 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 is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."