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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. 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 long for that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its variety. 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 wide range of prominent faces from politics.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including publicly shared struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, 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."

Curating a Cultural Era

This drive to be typecast has propelled him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they did not have the expected background," he states.

This project itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing 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."