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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions.

How would the Enninful of that era make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."