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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate 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 snapshot of modern Britain, featuring a broad spectrum of prominent faces from politics.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. Enninful set a precedent 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 leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where everybody 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 achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved challenges, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."