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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to promote 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, showcasing a broad spectrum of prominent faces from art.

"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, 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 Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including well-documented periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him away from the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the expected background," he comments.

The magazine 72 itself operates on a novel 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 a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."