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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature.

"People with a voice should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."