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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height 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 understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. 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 wide range of prominent faces from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, terrified 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him away from the world that built his career. 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 explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he states.

This project itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

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 entire life. But nothing can stop me once I’ve decided to do something."