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

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the rise of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. 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 wide range of cultural icons from literature.

"People with a voice should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will pass."

The Younger Generation's Awareness

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

The beginnings of his career would shape a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him beyond the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he comments.

This project itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."