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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the antidote has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "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 editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature 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 battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states.

This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."