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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. 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 says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, now a different political figure stands as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music.

"People with a voice should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including publicly shared periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 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 limit 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 realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they did not have the expected background," he observes.

This project itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of defying expectations.

How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."