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

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – 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 mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Galleries didn't always promote the right artists because they lacked the traditional credentials," he observes.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."