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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by boldness and diversity. Enninful set a precedent 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 time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "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 industry leaders. His path, he believes, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."