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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the response has always 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 portrait of modern Britain, featuring a broad spectrum of influential figures from literature.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."