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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"People with a voice should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life 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 believed in. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. Enninful made history 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, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

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

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."