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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes 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."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would define a pioneering career built on fearlessness and representation. Enninful made history 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 leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to promote the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."