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

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has involved challenges, including openly discussed battles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he comments.

This venture itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

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