The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political figure looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has always been to celebrate culture in all its variety. 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 wide range of cultural icons from art.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger 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 pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 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 conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful 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 be defined narrowly has led him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining 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.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he states.

This venture itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."