The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the return of narrow beauty standards. Replacing the optimism of the Blair era, currently a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, 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 Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved hardship, including openly discussed struggles with depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, 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 fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a major 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 artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."