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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

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

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."