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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "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 long for that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels 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 regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"People with a voice should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. 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."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has involved hardship, including well-documented battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions often failed to promote the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."