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

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, today 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.

In Enninful's view, the response has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has led him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself uses a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."