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

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. 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 wide range of influential figures from politics.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including openly discussed struggles with depression and addiction.

He has also endured significant health challenges, 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, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they lacked the right pedigree," he comments.

The magazine 72 itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."