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

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political figure appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

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

This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

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