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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust 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 systemic issues – I had no concept what that was."

Those early experiences would forge a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. 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 I am unstoppable once I’ve made up my mind to do something."