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

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, now a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire 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 leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has involved challenges, including well-documented periods of depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything 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 defined narrowly has propelled him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."