The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor 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 Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a different political figure stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the driving force behind his seminal 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.

"Individuals with a platform should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

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

Those early experiences would shape a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including publicly shared battles with depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 defined narrowly has propelled him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the right artists because they weren't of the expected background," he states.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."