The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political figure stands as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.

"People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including openly discussed periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he observes.

This project itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, 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 respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."