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 trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including openly discussed periods of mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the expected background," he comments.

This venture itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."