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 arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. 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 time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including well-documented battles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions didn't always celebrate the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost 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."