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 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 drive to be defined narrowly has led him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."