The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political force stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour 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. Significantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 fashion person."

A Foray into Curation

This drive to be typecast has propelled him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. 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."