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

An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, today a different political figure stands as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including publicly shared periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Institutions didn't always promote the right artists because they lacked the right pedigree," he states.

This venture itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."