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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political force looms as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from art.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "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 refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including openly discussed periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions didn't always promote the truly innovative creators because they weren't of the right pedigree," he comments.

The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."