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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, currently a more divisive political force looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.

"People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, 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 excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 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 inspired him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he observes.

The magazine 72 itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a testament to the power of defying expectations.

What would the younger Edward react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."