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 path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its variety. 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 diverse array of prominent faces from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just 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 first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared struggles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has inspired him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of defying expectations.

How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. 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 set my intention to do something."