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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art.

"People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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 limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of following your instincts.

How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."