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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, currently a different political personality looms as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire 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 doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced 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, away from work, fearing I was going to lose my sight. It’s comparable to 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he states.

This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward think of 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 would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."