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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the growth of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here 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 believe this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, 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.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the expected background," he observes.

This project itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."