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 course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, 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 Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from politics.

"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

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

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 fashion person."

A Foray into Curation

This drive to be typecast has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the expected background," he states.

This venture itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."