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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.

"People with a voice should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

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

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 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 fashion person."

A Foray into Curation

This determination to fit into a box has inspired him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself operates on a novel approach, rejecting 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 a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."