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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from art.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, 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 people from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to adversity, including publicly shared struggles with mental health 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, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."