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

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the growth of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from politics.

"Individuals with a platform should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the expected background," he observes.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."