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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered 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 bled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from music.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, 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 people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has included its share of hardship, including well-documented periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he states.

This project itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. 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 nothing can stop me once I’ve decided to do something."