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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented battles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has inspired him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."