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

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote 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 snapshot of modern Britain, showcasing a diverse array of influential figures from music.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will pass."

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 forge a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned 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, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has involved adversity, including well-documented periods of depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the right artists because they did not have the expected background," he comments.

This project itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."