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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, now a different political figure stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus 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 highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including well-documented periods of depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has propelled him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he comments.

This project itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of defying expectations.

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."