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 path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from music.

"Individuals with a platform should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared battles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he observes.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."