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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from politics.

"People with a voice should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

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

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"The establishment didn't always shine a light on the right artists because they lacked the right pedigree," he states.

This venture itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."