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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"People with a voice should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life 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 phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers 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 historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including openly discussed periods of depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him away from the world that built his career. He is now organising 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 explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the right artists because they weren't of the right pedigree," he observes.

The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of following your instincts.

How would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."