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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from literature.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the right pedigree," he observes.

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

A Testament to Resilience

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

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. 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 set my intention to do something."