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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from politics.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent 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 tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes.

This venture itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."