The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "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 Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the solution 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has inspired him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they did not have the right pedigree," he observes.

This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined 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 isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."