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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

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

His formative years would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of challenges, including openly discussed periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has inspired him beyond the world that established him. He is now curating a significant 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 evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions didn't always promote the right artists because they lacked the right pedigree," he states.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."