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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to celebrate culture in all its diversity. 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 diverse array of influential figures from music.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge 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 became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has involved adversity, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he comments.

This project itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."