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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not 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 phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved hardship, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

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

"Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he comments.

This venture itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."