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

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate 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 broad spectrum of cultural icons from literature.

"People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him beyond the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.

The magazine 72 itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."