The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.

"People with a voice should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour 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. Significantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including publicly shared periods of depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity 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 determination to fit into a box has propelled him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they weren't of the expected background," he comments.

This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."