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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has involved hardship, including publicly shared struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar 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 afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the right artists because they did not have the right pedigree," he observes.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."