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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to promote 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking 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 assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate 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 became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has involved adversity, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

This venture itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."