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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "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 spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared struggles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together 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 give platform to those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he states.

This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of defying expectations.

How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."