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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote 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 portrait of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and 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 incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved challenges, including well-documented battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "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 doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."