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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "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 change is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has involved adversity, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, terrified 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 ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of defying expectations.

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."