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

A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

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

His formative years would forge a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

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

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes.

The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."