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

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its diversity. 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 broad spectrum of prominent faces from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"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, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has inspired him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a novel 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 greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."