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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height 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 great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from music.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

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

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing 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."