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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

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

The beginnings of his career would shape a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"When you ignore vast segments 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 recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to 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 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 determination to be defined narrowly has propelled him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the expected background," he comments.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the younger Edward react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."