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

A serendipitous meeting while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. 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 unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. 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 pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."