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 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."