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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political personality appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "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 shape a trailblazing career marked by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including openly discussed battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions didn't always shine a light on the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

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

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."