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

A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including publicly shared periods of mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states.

This venture itself uses a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."