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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy 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 literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including openly discussed periods of depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything 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 be defined narrowly has led him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 spotlight those who did not receive adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the right pedigree," he states.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."