The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels 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 everywhere."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the late 90s, now a different political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including openly discussed battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has led him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he comments.

The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."