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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political force stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 drive to fit into a box has inspired him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the expected background," he observes.

This project itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."