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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met 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 spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "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 regression is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history 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 Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including publicly shared battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to celebrate the right artists because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

How would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."