The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It 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 knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook large portions 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 since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also endured serious health issues, 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, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him beyond the world that built his career. 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 notes, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

This venture itself operates on a novel approach, 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 greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."