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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched 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 "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has involved hardship, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, 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 limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."