The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, now a different political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – 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 leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity 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 propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the expected background," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. 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."