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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. 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."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like 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 fearful 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 be typecast has led him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."