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

A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. 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 a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.

"People with a voice should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

Hope in the Next Generation

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

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 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 fashion person."

Curating a Cultural Era

This refusal to be typecast has led him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he comments.

This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."