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 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – 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 predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented struggles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. 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 limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."