The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the expected background," he states.

This project itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."