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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

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

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here 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 always loved. I trust this period will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

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

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including publicly shared battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him beyond the world that built his career. 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 interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions didn't always promote the most relevant talents because they lacked the right pedigree," he states.

This project itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He laughs heartily. "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 a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."