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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 yearn for that energy."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a different political force looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music.

"Those in a position of influence 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 refused my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including well-documented periods of mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, 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 ends, 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 fit into a box has led him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This project itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of defying expectations.

How would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."