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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It 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 close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

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 challenges, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place 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 do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they lacked the expected background," he comments.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of 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 within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."