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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its diversity. 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 diverse array of cultural icons from politics.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would define a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including openly discussed battles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."