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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the rise of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political force stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him beyond the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the most relevant talents because they lacked the right pedigree," he observes.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."