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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career marked by boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including openly discussed battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to promote the right artists because they did not have the right pedigree," he states.

This project itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."