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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would forge a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"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 creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, 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 harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including openly discussed struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has led him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."