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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would shape a pioneering career marked by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved adversity, including openly discussed battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured 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 passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes.

The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."