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 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful made history 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 diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook vast segments 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 premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented battles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "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 prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Institutions didn't always promote the right artists because they weren't of the traditional credentials," he comments.

This venture itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."