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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."