The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response 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 snapshot of modern Britain, including a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including well-documented struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."