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 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, 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 determination to fit into a box has led him away from the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself operates on a novel business model, 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 larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."