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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "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 spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to hardship, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all 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 determination to fit into a box has led him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This project itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."