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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a different political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater 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 fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including well-documented periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."