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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career characterised by boldness and representation. Enninful set a precedent 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 Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including publicly shared struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the industry that established him. He is now curating 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 creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he observes.

The magazine 72 itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. 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 set my intention to do something."