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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political personality looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to champion 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 diverse array of prominent faces from music.

"People with a voice should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were 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 fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved adversity, including openly discussed periods of mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him away from the industry that made his name. 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 did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts.

What would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."