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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has always been to celebrate 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, featuring a diverse array of cultural icons from literature.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including well-documented battles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, terrified 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 passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."