The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

A New Wave of Consciousness

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

The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in 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 stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has involved challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."