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

A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to champion 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, showcasing a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

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

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, terrified 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 pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment didn't always celebrate the right artists because they weren't of the right pedigree," he comments.

This project itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think 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 is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."