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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate 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 broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented struggles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal 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 adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."