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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the solution has long been to celebrate 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 celebration of modern Britain, featuring a diverse array of influential figures from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful broke barriers 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 tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid 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 be typecast has led him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the expected background," he states.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

What would the Edward of the 90s make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."