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

An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including openly discussed periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 be typecast has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the younger Edward react to the his current self? 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 a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."