The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music.

"People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to challenges, including publicly shared periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, fearing 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment often failed to promote the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."