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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height 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 understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including publicly shared battles with mental health 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 time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the expected background," he comments.

This project itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.

How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."