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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. 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 analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up 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 very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to adversity, including publicly shared periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything 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 drive to fit into a box has led him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the right artists because they lacked the traditional credentials," he observes.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."