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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political force stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including well-documented periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."