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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, terrified 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."