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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – 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 close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a different political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants 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 physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including well-documented battles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear 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 prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. 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 were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."