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

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

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

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including openly discussed struggles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states.

This project itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential industry leaders. His story, he states, is a testament to the power of following your instincts.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."