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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives 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 a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political personality appears as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including publicly shared battles with mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "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 counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."