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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a different political personality stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – 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 departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. 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 unique perspective between worlds."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions often failed to promote the right artists because they did not have the expected background," he observes.

This project itself functions with a unique approach, forgoing 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 one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."