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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political force appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has involved hardship, including openly discussed battles with depression and substance use.

He has also endured serious health issues, having had multiple operations 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 lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything 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 fit into a box has inspired him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This project itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of following your instincts.

How would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

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