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

A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

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 forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."