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 immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music.

"People with a voice should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful 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 propelled him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he comments.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands 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 Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."