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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, now a different political force stands as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on fearlessness and diversity. 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 tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

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

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including openly discussed battles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a major 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 explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Institutions often failed to shine a light on the right artists because they did not have the right pedigree," he comments.

This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."