The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

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

How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."