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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the core philosophy 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 literature.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to promote the right artists because they weren't of the right pedigree," he states.

This project itself functions with a different approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."