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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt 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 sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the response has long been to celebrate 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 portrait of modern Britain, including a diverse array of influential figures from literature.

"People with a voice should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including well-documented periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts.

How would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."