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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics.

"People with a voice should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including publicly shared battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has propelled 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 pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."