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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."