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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It 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 knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim 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 doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including well-documented struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he states.

This project itself operates on a different approach, eschewing 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 one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."