The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of adversity, including well-documented periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear 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 passes, I’m just going to embrace every opportunity that I was so afraid 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 led him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of following your instincts.

How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."