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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from literature.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

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

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including openly discussed battles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has propelled him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

This project itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of following your instincts.

What would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think 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 fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."