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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from art.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was 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 found myself on the margins. I was painfully reserved. My teachers said 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."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including openly discussed struggles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 drive to be typecast has inspired him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries often failed to promote the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."