The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a different political personality stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would shape a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including well-documented periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he observes.

This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."