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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge 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, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including well-documented battles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured 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 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."

The Tate Britain Exhibition

This drive to be typecast has inspired him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states.

This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."