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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here 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 believed in. I trust this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he states.

This venture itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."