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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi 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 energy."

While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art.

"Individuals with a platform should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and inclusivity. 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, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of challenges, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the right artists because they did not have the right pedigree," he states.

This venture itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."