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 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, now a different political personality stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from art.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring 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 recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including openly discussed battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 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 figure in fashion."

A Foray into Curation

This drive to be typecast has led him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he states.

This project itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of following your instincts.

What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."