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 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including publicly shared battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."