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

A chance encounter 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 capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming 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."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him outside the world that made his name. He is now curating a significant 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 creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to celebrate the right artists because they did not have the right pedigree," he observes.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

How would the younger Edward think of the Edward of today? He smiles. "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 pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."