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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, today a more divisive political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its diversity. 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 literature.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has involved adversity, including openly discussed struggles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

How would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."