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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

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

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, now a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has always been to celebrate 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 cultural icons from politics.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

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

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including openly discussed periods of depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."