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

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, today a different political force stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of hardship, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."