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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has included its share of challenges, including well-documented struggles with depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the most relevant talents because they lacked the expected background," he comments.

This project itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."