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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political figure stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they weren't of the expected background," he comments.

This venture itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."