The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they did not have the expected background," he observes.

This project itself functions with a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."