The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from mannequin 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 – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a pioneering career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. 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 … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has led him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always shine a light on the truly innovative creators because they lacked the expected background," he states.

This venture itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."