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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the expected background," he comments.

This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."