The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered 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 bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him outside the realm that made his name. He is now curating a major 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 highlight those who did not receive due recognition at the time.

"Galleries often failed to celebrate the right artists because they lacked the expected background," he states.

This project itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, 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 set my intention to do something."