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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."