The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the solution has consistently been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from music.

"People with a voice should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the right pedigree," he comments.

This project itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."