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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the height 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 kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political personality appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid 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 typecast has led him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he observes.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."