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

A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks 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 refuge and an education. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s like 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 restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now curating a seminal 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 interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."