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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has led him outside the industry that made his name. He is now putting together a significant 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 capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to promote the most relevant talents because they weren't of the expected background," he comments.

The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."