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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from music.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including well-documented battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid 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 inspired him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the expected background," he comments.

This project itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."