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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"People with a voice should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales rose.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, 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 harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared 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 be defined narrowly has inspired him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries often failed to shine a light on the right artists because they weren't of the expected background," he states.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."