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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. 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 wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political figure appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the antidote has consistently 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from art.

"People with a voice should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has involved adversity, including well-documented battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."