The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew 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 wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political force appears as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"The establishment often failed to promote the right artists because they lacked the traditional credentials," he comments.

This project itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."