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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, anxious 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 pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."