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 teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, 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 hard to ignore: the rise of populist movements, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from art.

"People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade."

The Younger Generation's Awareness

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

Those early experiences would define a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid 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 fit into a box has led him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Institutions didn't always promote the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, 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."