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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"People with a voice should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will pass."

Hope in the Next Generation

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

The beginnings of his career would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. 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 incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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."

Curating a Cultural Era

This determination to be typecast has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the right artists because they did not have the expected background," he states.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. 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 decided to do something."