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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing 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 passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he states.

This project itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of following your instincts.

What would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."