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

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith 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 knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political force appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will end."

The Younger Generation's Awareness

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

His formative years would forge a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"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.

Beyond the Magazine World

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

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed struggles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he states.

This venture itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."