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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to promote 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 celebration of modern Britain, including a diverse array of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

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 expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he comments.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."