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

An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "Everyone talks 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 opportunity. That’s the Britain I believed in. I believe this period will end."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. 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 caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including well-documented periods of mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he comments.

This project itself functions with a novel approach, eschewing 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 broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a proof to the power of following your instincts.

How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. 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 whole career. But nothing can stop me once I’ve decided to do something."