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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

Although Enninful appears wistful, 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 significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has always 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 portrait of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, 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 models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."