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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure looms as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a pioneering career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

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

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has involved challenges, including well-documented battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, 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 nothing can stop me once I’ve made up my mind to do something."