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

A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a profound shift. "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 regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, now a different political figure appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

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

"People with a voice should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including publicly shared battles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."