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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including publicly shared periods of mental health and addiction.

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, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a different business model, 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 part of a larger creative platform."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."