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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, progressing 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 Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, 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, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including well-documented struggles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he observes.

This project itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."