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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from politics.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – 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 states.

This project itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."