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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, 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 remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes 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 everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "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 home and an education. That’s the Britain I cherished. I believe this period will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would define a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar 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 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 determination to be typecast has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"The establishment often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."