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

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including publicly shared periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him beyond the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."