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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled 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.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, today a different political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.

"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to challenges, including publicly shared battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has propelled him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they lacked the expected background," he comments.

The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."