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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from art.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

A New Wave of Consciousness

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

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, 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 a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to 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 Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

This project itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."