The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.

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

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states.

This venture itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the Edward of the 90s make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."