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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career built on boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

What would the Enninful of that era make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."