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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and representation. 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 time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

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

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including publicly shared struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, 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 be defined narrowly has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the expected background," he states.

This project itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."