The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and representation. 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 time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved challenges, including openly discussed struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has led him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they weren't of the traditional credentials," he observes.

This venture itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

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

How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."