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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently 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 portrait of modern Britain, including a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. 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 are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency 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".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has involved adversity, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, 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 is over, I’m just going to do everything 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 fit into a box has propelled him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Institutions often failed to promote the most relevant talents because they did not have the right pedigree," he comments.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."