The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political force looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including well-documented periods of depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he states.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."