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

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, currently a different political force appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art.

"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers 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 landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always promote the right artists because they weren't of the traditional credentials," he comments.

This project itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."