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

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "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 believe this phase will pass."

A New Wave of Consciousness

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

His formative years would define a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place 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 thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they did not have the expected background," he observes.

This venture itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of following your instincts.

How would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."