The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. 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 bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from music.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including well-documented struggles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the expected background," he states.

This project itself uses a unique strategy, 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 one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."