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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has consistently 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 snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate 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 found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has involved adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period 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 vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days 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 fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."