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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from art.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

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

His formative years would shape a trailblazing career characterised by boldness and inclusivity. 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 diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has involved challenges, including publicly shared battles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."