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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, today a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. 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 influential figures from music.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by boldness and representation. Enninful made history 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 leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

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

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved adversity, including openly discussed periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 fashion person."

A Foray into Curation

This drive to be typecast has led him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."