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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height 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 knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including publicly shared periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he comments.

This venture itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."