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

A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring 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 spotlight those who did not receive due recognition at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."