The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"When you ignore vast segments 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 recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has inspired him outside the world that built his career. He is now putting together a significant 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 artistic collaboration – and highlight those who did not receive due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the expected background," he observes.

This project itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."