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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "I feel, 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 Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from literature.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would define a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured 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 prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."