The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"Ignoring vast segments 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 established 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 "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has involved adversity, including openly discussed struggles with depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s like 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."