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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political force looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

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

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would forge a pioneering 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 assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."