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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including openly discussed battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."