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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a different political force stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – 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 first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to adversity, including well-documented periods of depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the right artists because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."