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 path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 fit into a box has propelled him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the right pedigree," he states.

This project itself uses a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."