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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from politics.

"People with a voice should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to challenges, including publicly shared battles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured 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 thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he comments.

This venture itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."