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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from art.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including publicly shared battles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."

Curating a Cultural Era

This refusal to fit into a box has inspired him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."