The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has always been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they lacked the expected background," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."