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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a different political force stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from politics.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including publicly shared battles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the right pedigree," he states.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations.

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

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."