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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, 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 people from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented struggles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself functions with a novel approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."