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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

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

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."