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

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has always been to champion 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 snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will end."

A New Wave of Consciousness

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

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he states.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."