The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city'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 zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

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."

Those early experiences would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed periods of mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable 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 fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal 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 a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he comments.

This venture itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."