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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith 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 felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including openly discussed battles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he states.

This project itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."