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 newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from music.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "Everyone talks 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 believed in. I trust this phase will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook large portions 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 established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has involved challenges, including openly discussed battles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he states.

The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."