The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height 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 mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political force stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response 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 celebration of modern Britain, featuring a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful made history 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 leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

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

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the most relevant talents because they weren't of the expected background," he states.

This venture itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."