The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a pioneering career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including openly discussed struggles with depression and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has led him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."