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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political personality appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he observes.

This project itself functions with a different business model, rejecting 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 influential industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."