The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the response has always been to promote 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 celebration of modern Britain, including a diverse array of influential figures from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including well-documented periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the traditional credentials," he comments.

This project itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, 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

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

What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."