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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

For Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"People with a voice should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate 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, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved challenges, including publicly shared struggles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they did not have the expected background," he states.

The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days 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 left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."