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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to celebrate 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 snapshot of modern Britain, including a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

Hope in the Next Generation

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

His formative years would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 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 limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he comments.

This project itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."