The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he asserts, 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 hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 fit into a box has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the expected background," he states.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."