The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from literature.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture 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 status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including well-documented periods of depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared 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 fit into a box has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments.

This project itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."