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

A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Those in a position of influence should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said 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."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including well-documented struggles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."