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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to promote 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the industry that built his career. He is now putting together 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 explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the expected background," he observes.

This project itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, 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 I am unstoppable once I’ve made up my mind to do something."