The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from art.

"People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

A New Wave of Consciousness

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

His formative years would define a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Institutions didn't always promote the right artists because they weren't of the expected background," he comments.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of defying expectations.

What would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."