The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model 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 recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, today a different political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

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

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented periods of mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."