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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

For Enninful, the solution has long been to celebrate 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, including a wide range of influential figures from music.

"People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including well-documented periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 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 restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions often failed to promote the truly innovative creators because they did not have the expected background," he states.

This project itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."