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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

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

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved adversity, including openly discussed struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

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

This venture itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."