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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political force looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved hardship, including openly discussed struggles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."