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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion culture in all its variety. 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 diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would shape a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including publicly shared battles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 refusal to be defined narrowly has led him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."