The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including openly discussed battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself uses a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? 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 powerful creative power brokers. His path, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."