The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, 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, featuring a wide range of cultural icons from art.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, terrified 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 do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always promote the right artists because they did not have the traditional credentials," he states.

This project itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of following your instincts.

How would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."