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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication 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 Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life 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 trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including openly discussed battles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he states.

This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."