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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell 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 sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, now a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"Ignoring vast segments 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 since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved hardship, including well-documented battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of defying expectations.

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."