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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, 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 everywhere."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here 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 believed in. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including openly discussed periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him outside the realm that built his career. He is now putting together a significant 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 capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. 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 set my intention to do something."