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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to champion 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 portrait of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including well-documented battles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."