The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from politics.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, 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 varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. 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 Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him outside the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."