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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political force appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art.

"People with a voice should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including well-documented struggles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to 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 afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him beyond the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

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

This project itself functions with a novel strategy, 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 a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a testament to the power of pursuing your passions.

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."