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

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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 refusal to be defined narrowly has propelled him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they lacked the expected background," he states.

This project itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."