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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, currently a different political force stands as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the antidote has consistently 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 portrait of modern Britain, including a wide range of influential figures from literature.

"Individuals with a platform should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. 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."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has involved hardship, including well-documented battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, anxious 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 pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."