The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has long been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including well-documented struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they lacked the expected background," he comments.

The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

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

What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."