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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

This venture itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."