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

A chance encounter during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, 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, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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."

The Tate Britain Exhibition

This determination to be typecast has led him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Institutions didn't always promote the right artists because they weren't of the right pedigree," he states.

This project itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. 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 entire life. But nothing can stop me once I’ve decided to do something."