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

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

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they weren't of the expected background," he observes.

This project itself uses 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 larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."