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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

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

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, 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 suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him away from the world 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 explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."