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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force 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 music.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

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

Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Institutions didn't always celebrate the right artists because they lacked the right pedigree," he observes.

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."