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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has propelled him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the right pedigree," he observes.

This venture itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."