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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music.

"People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know 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 editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has involved challenges, including openly discussed struggles with depression and substance use.

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, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the expected background," he states.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of following your instincts.

What would the younger Edward think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, 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 I am unstoppable once I’ve set my intention to do something."