The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant 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 rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. 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, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has involved challenges, including well-documented struggles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of defying expectations.

How would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."