The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from art.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has included its share of challenges, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the expected background," he states.

The magazine 72 itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."