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 course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. 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 set my intention to do something."