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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from art.

"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

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

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he states.

This project itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

How would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."