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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including publicly shared battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared 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 propelled him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries often failed to promote the right artists because they lacked the right pedigree," he comments.

This project itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of defying expectations.

How would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."