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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, now a different political personality appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

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

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. 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 dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including well-documented struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, terrified 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 is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."