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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit 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 away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the right artists because they lacked the traditional credentials," he observes.

This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "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

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a proof to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, 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 reflects. "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 no obstacle is too great once I’ve made up my mind to do something."