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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political personality stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from music.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed periods of depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

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

This venture itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."