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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "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 Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.

"Individuals with a platform should use it," he says, explaining those publishing choices. "People often debate 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 opportunity. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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."

A Foray into Curation

This refusal to be defined narrowly has led him away from the industry that built his career. He is now putting together a significant 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 evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"The establishment often failed to shine a light on the right artists because they lacked the right pedigree," he observes.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

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

How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

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