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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, now a different political personality appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics.

"People with a voice should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of challenges, including publicly shared struggles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."