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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the late 90s, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to promote 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 fashion person."

A Foray into Curation

This determination to be typecast has propelled him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think 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 almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."