The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the response has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should use it," he comments, discussing 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 did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved hardship, including well-documented battles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."