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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has inspired him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he observes.

This project itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."