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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries didn't always celebrate the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."