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

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, 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 fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of challenges, including publicly shared battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

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

This venture itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."