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

An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by boldness and diversity. 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including publicly shared battles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared 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 fit into a box has inspired him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."