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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from art.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, 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 states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of hardship, including well-documented battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable 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 fashion person."

Curating a Cultural Era

This drive to fit into a box has led him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he observes.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."