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 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from literature.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like 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 scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."