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 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from literature.

"People with a voice should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including publicly shared battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to promote the right artists because they did not have the right pedigree," he states.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."