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

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality looms as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from literature.

"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

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

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including publicly shared periods of mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 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 restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to promote the right artists because they lacked the right pedigree," he observes.

This project itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of following your instincts.

How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think 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 isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."