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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – 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 great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, 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 hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

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

Those early experiences would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has inspired him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the expected background," he comments.

This venture itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."