The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from music.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would define a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential 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 adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the expected background," he comments.

This project itself uses a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."