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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of following your instincts.

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing 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."