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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

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. Replacing the hope of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, 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 figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes.

This project itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts.

What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."