The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, now a different political personality stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to champion culture in all its diversity. 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 wide range of prominent faces from literature.

"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers 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, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

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

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including publicly shared battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they lacked the right pedigree," he states.

This project itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, 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 demonstration to the power of following your instincts.

What would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, 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 reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."