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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice 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 open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has inspired him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This project itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."