The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became 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 grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including well-documented periods of depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear 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 is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the expected background," he comments.

The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly 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."