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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – 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 great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political figure appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of hardship, including publicly shared periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified 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 embrace every opportunity 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 refusal to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the expected background," he states.

This project itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."