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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith 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 felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a different political force looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved hardship, including publicly shared periods of depression 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 lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring 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 a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

How would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."