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 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, now a different political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"People with a voice should use it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and inclusivity. Enninful made history 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 leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the industry that built his career. 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 interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."