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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives 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 everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they lacked the right pedigree," he comments.

This project itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of following your instincts.

How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."