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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political personality appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

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

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed periods of depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, 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 influential creative power brokers. His story, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."