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

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 capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

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

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. 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 everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved adversity, including openly discussed periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 determination to fit into a box has led him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the right artists because they lacked the right pedigree," he observes.

This project itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."