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 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "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 regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the response has long 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, featuring a wide range of cultural icons from politics.

"Individuals with a platform should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including well-documented battles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him away from the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."