The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – 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 bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"Those in a position of influence should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid 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 defined narrowly has propelled him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of defying expectations.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly 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."