The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. 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 the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including openly discussed struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the right artists because they weren't of the expected background," he states.

The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."