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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height 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 rawness."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from politics.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."