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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of adversity, including publicly shared struggles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they lacked the expected background," he states.

This project itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."