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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the expected background," he observes.

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

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."