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

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

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

Those early experiences would define a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions 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 flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including publicly shared periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "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 vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

How would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."