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 trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has always been to promote 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 portrait of modern Britain, including a broad spectrum of prominent faces from music.

"People with a voice should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm 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 huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

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

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also endured serious 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 comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he observes.

This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a proof to the power of following your instincts.

How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."