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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.

"People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed struggles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."