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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they did not have the right pedigree," he comments.

This project itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

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 sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."