The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the height 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 hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he comments, explaining 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 hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will end."

A New Wave of Consciousness

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

The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

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 expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including openly discussed struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious 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 embrace every opportunity 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 typecast has propelled him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they lacked the expected background," he states.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."