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

A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would forge a trailblazing career marked by boldness and diversity. 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 diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including well-documented battles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

This venture itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."