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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by fearlessness 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 tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

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

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they did not have the expected background," he comments.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of defying expectations.

How would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."