The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, now a different political figure looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

His formative years would shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and 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 was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they weren't of the traditional credentials," he comments.

This venture itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."