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 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has led him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

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

This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

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

How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days 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 there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."