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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era 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 close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – 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 have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him beyond the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."