The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.

"People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including well-documented struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured 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 vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."