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 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently 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 celebration of modern Britain, including a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this period will pass."

The Younger Generation's Awareness

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

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has included its share of adversity, including well-documented struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This project itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."