The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, now a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.

"People with a voice should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including well-documented periods of mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he comments.

This project itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."