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

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has included its share of challenges, including openly discussed struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has inspired him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."