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 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"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 knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has long been to promote culture in all its variety. 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 prominent faces from art.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"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 came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the right artists because they did not have the expected background," he observes.

This venture itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."