The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. 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 found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including well-documented periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries didn't always celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This project itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts.

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then 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 fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."