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 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, 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 states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to challenges, including openly discussed battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared 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 be typecast has inspired him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to promote the right artists because they lacked the right pedigree," he states.

The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected cultural influencers. His story, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, 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 decided to do something."