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 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful made history 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 leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

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

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".

"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 lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.

This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."