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

A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political force looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art.

"People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, 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 drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the right artists because they lacked the traditional credentials," he comments.

This project itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."