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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, now a different political personality appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared battles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful 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 be typecast has led him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always promote the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."