The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature.

"People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

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 openly discussed battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the expected background," he states.

This project itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

How would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."