The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political force looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response 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 celebration of modern Britain, including a broad spectrum of influential figures from literature.

"People with a voice should use it," he asserts, 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 hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture 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".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including well-documented battles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the expected background," he observes.

This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."