The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics.

"People with a voice should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, 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 explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 highlight those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a proof to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."