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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from literature.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope 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 unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

A Foray into Curation

This determination to fit into a box has propelled him outside the realm that established him. He is now curating a significant 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 capture the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the expected background," he states.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."