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 arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music.

"People with a voice should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including openly discussed periods of depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the right pedigree," he states.

This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. 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 set my intention to do something."