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

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

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

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

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including publicly shared battles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to celebrate the most relevant talents because they weren't of the right pedigree," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."