The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its variety. 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 diverse array of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including well-documented struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 be typecast has propelled him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they did not have the traditional credentials," he states.

This venture itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."