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

An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from art.

"People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned 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, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they did not have the expected background," he states.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."