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

A chance encounter during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

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

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. 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 dual identity between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including well-documented battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has inspired him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he states.

This venture itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."