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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality appears as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the antidote 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 portrait of modern Britain, featuring a diverse array of prominent faces from literature.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has led him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."