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

A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has inspired him away from the industry that made his name. He is now curating a seminal 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 give platform to those who weren't given due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This project itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."