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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

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

Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised 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 painfully reserved. 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 between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including well-documented periods of depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared 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 inspired him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Institutions didn't always celebrate the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."