The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels 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. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, today a different political personality looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

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

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved hardship, including well-documented periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he comments.

The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."