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

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

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

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including openly discussed struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."