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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

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

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in 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 subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including publicly shared battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This project itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

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