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

An unexpected discovery 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 city's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics.

"People with a voice should use it," he comments, referring to those publishing choices. "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 home and an education. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."