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 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.

"People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, 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 figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him outside the world that established him. 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 says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Institutions didn't always promote the right artists because they weren't of the expected background," he states.

This project itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."