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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, today a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would forge a pioneering career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

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

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. 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 dual identity between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, 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 do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he states.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."