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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place 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 pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."