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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"People with a voice should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including openly discussed periods of depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the expected background," he comments.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."