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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the backlash 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 possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including well-documented battles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. 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 embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the world that established him. 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 explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the expected background," he states.

This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."