The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"People with a voice should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including openly discussed battles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. 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 embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes.

This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. 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 whole career. But no obstacle is too great once I’ve set my intention to do something."