Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of populist movements, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.

"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. 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 dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has included its share of challenges, including publicly shared battles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

How 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 a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."