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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim 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 lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, 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 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."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, 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 made up my mind to do something."