The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art.

"People with a voice should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook large portions 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 accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including openly discussed struggles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him beyond the industry that established him. He is now putting together 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 evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he observes.

The magazine 72 itself functions with a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."