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 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has always been to champion 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, featuring a wide range of cultural icons from music.

"People with a voice should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This venture itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations.

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."