The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to promote 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 portrait of modern Britain, showcasing a diverse array of influential figures from music.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. 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 physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including publicly shared periods of mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Galleries didn't always promote the right artists because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."