The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and representation. Enninful set a precedent 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he states.

This project itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."