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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, today a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, 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 models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled 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 defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself uses a novel approach, 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 broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."