The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political personality stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

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

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has inspired him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the right artists because they did not have the expected background," he states.

This project itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."