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

A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the Young British Artists – 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 great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved hardship, including well-documented periods of mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period 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 vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has inspired him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the expected background," he states.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."