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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant 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, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the hope of the late 90s, now a different political personality stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution 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 wide range of prominent faces from politics.

"People with a voice should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. 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 came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of hardship, including well-documented battles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Galleries didn't always promote the right artists because they did not have the traditional credentials," he comments.

This venture itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

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