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

A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from music.

"People with a voice should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this period will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions often failed to shine a light on the right artists because they weren't of the expected background," he states.

This venture itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."