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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height 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 felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a different political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

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

"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. 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 time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including publicly shared battles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything 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 refusal to be typecast has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself uses a novel strategy, 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 one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."