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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from literature.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of challenges, including well-documented battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the right artists because they lacked the expected background," he observes.

This venture itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."