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

An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director 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 felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

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

"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."