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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its diversity. This was the driving force 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 music.

"People with a voice should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always promote the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."