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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director 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 remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, anxious 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the right pedigree," he comments.

This venture itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."