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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political force appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.

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

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and diversity. 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 leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. 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 almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."