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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political personality stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has involved hardship, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s like 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the world that established him. He is now curating a significant 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 highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he states.

This project itself uses a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."