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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell 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 far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional 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 emblem of Cool Britannia, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including publicly shared struggles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the expected background," he observes.

This project itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

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

How would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."