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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the solution 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, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including openly discussed periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has led him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the most relevant talents because they weren't of the expected background," he comments.

This project itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of defying expectations.

How would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."