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

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, 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 believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure stands 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 champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, 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."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions didn't always celebrate the right artists because they weren't of the expected background," he comments.

This project itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."