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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, 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 worldwide."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, now a more divisive political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"Those in a position of influence should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved hardship, including well-documented battles with depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, 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 industry leaders. His path, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."