The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. 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 fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the most relevant talents because they did not have the expected background," he comments.

This venture itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."