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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

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

Those early experiences would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they weren't of the right pedigree," he observes.

This project itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."