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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, today a different political figure stands as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.

"People with a voice should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including publicly shared struggles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has led him outside the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the expected background," he states.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

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 nothing can stop me once I’ve made up my mind to do something."