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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and diversity. 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 time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."