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

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the height 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 felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently 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 snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a pioneering career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved hardship, including publicly shared struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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 fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they weren't of the expected background," he states.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."