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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political force stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality 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 radiates serenity. His life has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."