The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 spontaneity."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful made history 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 time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including well-documented struggles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all 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 fit into a box has propelled him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the right artists because they lacked the traditional credentials," he states.

This project itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.

How would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."