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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would forge a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed struggles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."