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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the response has always been to celebrate 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 celebration of modern Britain, including a wide range of cultural icons from politics.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a trailblazing career built on boldness 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 tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has involved challenges, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."