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

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved adversity, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of following your instincts.

How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."