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 path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political personality appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 refusal to be typecast has led him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."