The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of populist movements, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution 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 portrait of modern Britain, including a broad spectrum of influential figures from politics.

"People with a voice should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career marked by boldness and diversity. Enninful broke barriers 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 leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved challenges, including well-documented struggles with depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has propelled him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."