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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from music.

"Those in a position of influence should use it," he asserts, explaining 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 refuge and an opportunity. That’s the Britain I always loved. I hope this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

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

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including publicly shared battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has inspired him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"The establishment didn't always celebrate the right artists because they did not have the right pedigree," he states.

This project itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. 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 made up my mind to do something."