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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has involved adversity, including openly discussed struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared 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 fit into a box has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always promote the truly innovative creators because they did not have the expected background," he comments.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a testament to the power of following your instincts.

What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "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 underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."