The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the response has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this period will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including openly discussed battles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to 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 scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together 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 highlight those who weren't given a spotlight at the time.

"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."