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

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic 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 felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

This venture itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."