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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will end."

A New Wave of Consciousness

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

Those early experiences would define a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to 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."

The Tate Britain Exhibition

This refusal to be typecast has inspired him outside the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. 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."