The fashion icon Edward Enninful discusses 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 teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from literature.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised by boldness 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 leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to celebrate the truly innovative creators because they lacked the expected background," he states.

This project itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."