The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director 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 states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by boldness 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 diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences 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 included its share of adversity, including publicly shared battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."