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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from music.

"People with a voice should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has involved challenges, including well-documented struggles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the expected background," he states.

This project itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."