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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – 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 became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, today a different political personality stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end."

The Younger Generation's Awareness

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

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of challenges, including well-documented periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, 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 figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him away from the world 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 creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."