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 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a different political force stands as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has involved adversity, including well-documented periods of depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period 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 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."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the most relevant talents because they did not have the traditional credentials," he observes.

This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."