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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a different political figure appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from music.

"Individuals with a platform should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed struggles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. 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 afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This venture itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."