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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to promote 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, showcasing a diverse array of cultural icons from politics.

"People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including publicly shared 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 experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries often failed to celebrate the most relevant talents because they lacked the traditional credentials," he observes.

This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."