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 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "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 regression is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote 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 wide range of cultural icons from art.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life 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 believe this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear 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 vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly 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 explains, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."