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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him beyond the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."