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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from politics.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate 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, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the expected background," he observes.

This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential industry leaders. His story, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."