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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has always been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared battles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the world that made his name. He is now curating 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 give platform to those who did not receive due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he states.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of following your instincts.

How would the Enninful of that era think of the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."