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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has consistently been to promote 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 snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including openly discussed battles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."