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

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal 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, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."