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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations 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 thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the realm that made his name. 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 notes, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to promote the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

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

What would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."