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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, currently a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from music.

"People with a voice should use it," he asserts, discussing those publishing choices. "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 home and an education. That’s the Britain I always loved. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would shape a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has included its share of adversity, including well-documented battles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful 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 typecast has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."