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

A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from music.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including well-documented battles with mental health and substance use.

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

The Tate Britain Exhibition

This drive to be defined narrowly has led him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a testament to the power of following your instincts.

What would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."