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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak 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 knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including publicly shared struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself uses a different strategy, 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 one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."