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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, now a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.

"People with a voice should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has led him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he states.

This venture itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."