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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including well-documented periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he states.

This venture itself operates on a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."