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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. 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 bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political personality stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to challenges, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he comments.

This project itself functions with a novel approach, eschewing 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."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."