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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

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

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful 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 typecast has led him away from the world 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 says, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."