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

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi 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 spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would forge a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including well-documented battles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything 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 be defined narrowly has propelled him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."