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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time 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 understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from politics.

"People with a voice should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s more than 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 first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, 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 ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.

This venture itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."