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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. 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 diverse array of prominent faces from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a trailblazing career built on boldness and inclusivity. 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 leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has included its share of adversity, including well-documented struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."