The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the expected background," he comments.

This venture itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."