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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "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 rawness."

If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"People with a voice should use it," he asserts, referring to those publishing choices. "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 home and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

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

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented struggles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the expected background," he observes.

This venture itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a testament to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."