The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature.

"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

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

The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, 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 harassed under the suspicion laws … all that gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions often failed to promote the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

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

How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."