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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

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. In place of the optimism of the late 90s, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its diversity. 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 broad spectrum of cultural icons from politics.

"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. 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 sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including well-documented battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"The establishment didn't always celebrate the right artists because they did not have the expected background," he states.

This venture itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, 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."