The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has consistently been to promote 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 diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a trailblazing career marked by fearlessness and diversity. 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 time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

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 says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including well-documented periods of depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear 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 embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has led him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."