The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political figure stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has long 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, showcasing a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved challenges, including openly discussed battles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, 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 ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of following your instincts.

What would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."