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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, 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 resurgence of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate 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 snapshot of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared battles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."