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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution 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 portrait of modern Britain, showcasing a wide range of influential figures from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by 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 take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to hardship, including well-documented battles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to 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 live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of following your instincts.

What would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."