The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. 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 observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, now a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate 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, showcasing a wide range of influential figures from politics.

"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

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

His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including publicly shared struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he comments.

This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of following your instincts.

How would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing 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 set my intention to do something."