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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a different political figure stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion culture in all its diversity. 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 broad spectrum of cultural icons from music.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of adversity, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."