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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

For 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including well-documented periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has inspired him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to promote the right artists because they lacked the traditional credentials," he observes.

The magazine 72 itself functions with a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of defying expectations.

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 proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."