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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has long been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up 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 predicted 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 caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including publicly shared periods of depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything 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 drive to be typecast has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

This venture itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

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

How would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."