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

A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political personality stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

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

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

How would the Enninful of that era 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 there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."