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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality looms as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.

"People with a voice should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position 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 pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including openly discussed periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the right pedigree," he observes.

This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of following your instincts.

How would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."