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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering 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 diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they did not have the traditional credentials," he observes.

This project itself functions with a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."