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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving 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 lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has involved challenges, including openly discussed periods of mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together 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 spotlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments.

This project itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."