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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

His formative years would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

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

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has included its share of hardship, including publicly shared battles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."