The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels 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. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, today a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they lacked the right pedigree," he comments.

This project itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

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

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost 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."