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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, today a different political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from art.

"People with a voice should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid 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 outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time 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 almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."