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

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music.

"People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has involved challenges, including publicly shared periods of mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful 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 defined narrowly has inspired him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to promote the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a proof to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."