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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from politics.

"People with a voice should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he states.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "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

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."