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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period 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 thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states.

This venture itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, 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 adds. "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 doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."