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 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."