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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including well-documented periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

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

This venture itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."