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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"People with a voice should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful 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 fit into a box has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host 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 did not receive a spotlight at the time.

"Institutions often failed to celebrate the right artists because they lacked the expected background," he states.

This project itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. 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 made up my mind to do something."