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

A chance encounter 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 swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion 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 home and an education. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

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

The beginnings of his career would forge a groundbreaking career marked by boldness and representation. Enninful made history 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 time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place 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 vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.

This project itself operates on a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."