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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

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

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. 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 found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

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

This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."