The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith 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 felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political force looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the response has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"To overlook 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 established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."