The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a different political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art.

"People with a voice should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he states.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."