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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always 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 snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open 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 pass."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including well-documented periods of mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything 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 drive to be defined narrowly has inspired him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions didn't always promote the right artists because they did not have the expected background," he observes.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."