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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, now a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has always 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 snapshot of modern Britain, showcasing a wide range of prominent faces from art.

"People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers 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 time featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring huge sections 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 since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period 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 vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the realm that established him. He is now organising 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 evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."