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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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 miss that energy."

If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a different political personality appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"People with a voice should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

The Younger Generation's Awareness

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

Those early experiences would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook large portions of the population, it’s more than 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 flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has included its share of adversity, including well-documented periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful 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 be typecast has led him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."