The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the response has always 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 broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

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

His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved hardship, including publicly shared battles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared 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 led him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he comments.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a proof to the power of defying expectations.

What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, 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 I am unstoppable once I’ve set my intention to do something."